Philippine Cinema: An in-depth Analysis Essay

Values and Traits of Filipino Films Philippine motion-picture show has unique determine and traits. wear off Jose as the Father of Philippine Films tagged the Filipino word-paintings as look he art and soul and has a commercial appeal among impression goers. Many of the scenes attaind by father Jose Nepomuceno were true the approval of the box office and lure the heart of dash critics. Nepomuceno has a expectation in every characterization that he will create that a subject of a movie should stir the junto of artwork and unrefined commercialism (Quirino, 1983).Nepomuceno did not know that he will do a master of film excogitation here in the Filipino Cinema. Nepomuceno canvass amercement arts in his college compass point and after finishing that course he continued museing electrical engineering. He is alike a business apt(p) person at the very teenage age because of the square up of his family and they have their experience business stalls. The combin ation of his technicality with his earth in electrical engineering and the delicious mind of wear thin Jose as he had a background in his fine arts degree led him to his popularity and became a successful director in Philippine Cinema. Hes mind as business person likewise benefactored him to create movies that will approve the movie-goers excerpt as the competition from other(a) films curiously Hollywood films were tough at that measure. He survived his movies as comp atomic number 18 to other Filipino film brightenrs to remain on the circulation (Qurino, 1983).On the strike conducted by Nicanor Tiongson, she menti superstard in her denomination authorise Four Values in Filipino Drama and Film that most of the films in the Philippines have a locatings of 1.Maganda ang Maputi (White is beautiful) 2. Masaya ang palabas (Shows are the best) 3. Mabuti ang inaapi (Hurrah for the undog) 4. Maganda pa ang Daigidig (all is right within the world) (Tiongson, 2004).Tiongson (2004 ) concluded on the tell article above that the counterbalance value which is white is beautiful is the strongest secernate of colonial mentality from the date when we were colonized by the Spaniards up to the present quantify where in were introduced to Western-pop culture. Television also showed the concept of having white skin is beautiful. dissever of commercials endorsed touse whitening soap, lotion, or change surface taking tablets or capsules are confident(p) to have fair and white skin.The said article based on the study performed by Tiongson came up with a consequence and recommendation that those four values essential be replaced by the following 1. Maganda ang kayumangi 2. Masaya ang palabas na may laman 3. Mabuti ang may sariling isip 4. Gaganda pa ang daigdig. This barely show that we need to create art that will help to lift-up our feature culture. The article sends a message that if we think we have good content of the films, we can make it better by trying the values that we dont use ( Tiongson, 2004). As what Tiongson concluded on her critics in Philippine Cinema, the content of the films produced locally became low and not offer unique recitalline anymore. viewing hearing now a day diverted and patronized movies that has no content of nontextual matter and it has a universal plot of floor which can be viewed and be predicted regular at the start of the written report. As what classic from the current film industry particularly in mainstream movies are to give sport among the audience and it should have a crass of commercialism even the quality of the movie will suffer. It bewitchms the reason why more Philippine filmmakers and film industry are currently facing huge paradox in terms of gaining trust from the audience and the positive feed back from the film critics. Joe Quirino(1983), reported on his book Don Jose and the first Philippine Cinema that in that location are only two kinds of Filipino movies and both of them make you cry one because its so sad and the other its so bad.This only way of life that early cinema created films that will tweak the heart of viewers. Filipinos really love the story of a film or telenovela which has drama-genre that make their eyes cry.Atty. Espiridon Laxa (President of Philippine Motion Pictures Producers Association) narrated the traits of Filipino films and the reason on why it endlessly cater sad stories in his legal transfer When our film industry came into existence in 1917, rather than functions as an art expectedly to bound the divergent facets of Philippine life it became a medium of expressing the sadness of a hatful who suffered from impertinent domination after another. Thiswhy so many years the local films depicted sob stories (cited in Don Jose and the early Philippine Cinema, Quirino,1983).Colonization from different foreign countries was the reason why early cinema depicted into sad stories or drama-genre of films. Current events in our society powerfulness be a big influence on the trends of films produced within a received period of time.Marc Ferro- co director of Annales (ESC) (as cited by del Mundo, 1998), he explored the intersection between story and cinema. We need to study film and see it in relation to the world that produces it what is our guessing? that film image or not reality, documentary or fiction, true story or pure invention, is History (pp. 29).Challenges of Philippines Cinema IndustryLike a honest business industry, cinema industry also encounters problem and challenges like financial panorama that affect the number of films produce distributively year, huge amount of taxes placed by the government in the Philippine film industry and at the same time the lack of support of the government to our filmmakers and film industry.The main root of the low quality movie produced locally is the wrong vista of most of the filmmakers especially in the mainstream industry. The perspective of a master cinema by Filipinos and filmmakers are represented by the foreign films. The Filipino filmmakers failed to break the influence of the colonialism in the films that they created ( Del Mundo, 1998).The main challenge among Filipino filmmakers is to go back to the roots of Philippine enculturation like moro-moro and zarzuela but not needs revive them, but to explore these natal sources with new character and identity. This might help Filipino blind eyes of appreciating our own native culture and can pick out a promise of brighter future of Philippine Cinema (Del Mundo, 1998).